An important topic in the ethics of technology is the extent to which recent digital technologies undermine user autonomy. Supporting evidence includes the fact that recent digital technologies are known to have an impact on attention, which balances "bottom-up" and "top-down" influences on cognition. As described in numerous papers, these technologies manipulate bottom-up influences through cognitive fluency, intermittent variable rewards, and other techniques, making them more attractive to the user. We further reason that recent digital technologies reduce the user’s (...) ability to exert top-down attention due to the scale of the content—they provide far more content at a much faster pace than other technologies, which over time reweights the balance of attention in favor of bottom-up influences. After reviewing evidence for these effects, including their temporal duration, we consider their downstream effects on both autonomy and creativity. We find that while the impact of recent digital technologies on top-down attention may allow for more idea generation, that creativity also depends on control, which is undermined by these technologies. We are more circumspect with autonomy, reasoning that in certain cases it might not make sense to see user autonomy as harmed through these effects. We conclude with other ways that recent digital technologies may improve creativity, which may act as an offset to the detrimental impacts of these technologies. (shrink)

“The Sustainable Development Goals (SDGs)”, are a universal call for action, covering targets to be fulfilled by the end of 2030. Many global problems such as global climate change and drought, environmental pollution, depletion of natural resources and biodiversity, inclusive education have evolved into the greatest collective problem of all humanity. It is recognized that teachers, are also responsible for ensuring a sustainable life for future generations and contributing to its sustainability. At this point, there is a need for educational (...) approaches based on group dynamics that will contribute to the socialization of the individual, support them to gain new experiences, provide them with the opportunity to produce solutions to the encountered obstacles, be sensitive to human values, have a questioning perspective, support them in processes that will enable critical, collaborative, attentive and creative thinking skills, and guide them in processes that will enable them to activate their critical, collaborative, attentive and creative thinking skills. Philosophy and creative drama practices for children based on these educational approaches are among two of the methods that are thought to be effective in addressing and questioning development goals and developing solutions for individuals who are learning about the actions that can be carried out. The research, which is designed to convey this universal call for action to children through the teachers of the future and to support them to be an active part of this process, is based on three components: sustainable development goals, creative drama and philosophy for children, and a sample workshop plan is presented. (shrink)

Many traditional theories of creativity put heavy emphasis on an incubation stage in creative cognitive processes. The basic phenomenon is a familiar one: we are working on a task or problem, we leave it aside for some period of time, and when we return attention to the task we have some new insight that services completion of the task. This feature, combined with other ostensibly mysterious features of creativity, has discouraged naturalists from theorizing creativity. This avoidance is misguided: (...) we can maintain unconscious incubated cognition as (sometimes) part of the creative process and we can explain it in scientifically responsible ways. This paper, focusing on the effects of attention on the functional networking of the brain, attempts just such an explanation. It also serves to assuage the naturalist's scepticism about other features of creative cognition. The broad upshot, one would hope, is that philosophers of mind and cognitive scientists return some attention to the long neglected topic of creativity. (shrink)

The idea that art is related to a process of creation is a modern one. Through a complex history in the $)th century, which is not without contradictions, the connection between art and creativity was debated in different fields – psychology, epistemology, cognitive science, etc. – and became the target of attacks from marxism and (post-)structuralism. Still, the notion of creativity seems to have conserved its force not only in everyday practices but also in media discourses. In diverse areas – (...) from art theory to epistemology, from action theory to economics, from computer science to psychology (to give only a few examples) – it has regained the attention of scholars as well, as is made clear by the number of recent publications on the topic. However, questions remain as to whether and how the notion of creativity can be used and what kind of conceptual work it can do. Trópos dedicated a call for papers to this topic. Selected papers are published in two special issues. The present one includes essays offering theoretical investigations on creativity. They do this under different, even contrasting, perspectives, with different aims and with di5erent outcomes. Yet, the light they throw on the question at issue provides readers with important, often creative, insights. Through them, readers are invited to think creatively, as well as critically, on creativity and its connections with the arts and aesthetics. (shrink)

In the present research, the authors hypothesized that additive counterfactual thinking mind-sets, activated by adding new antecedent elements to reconstruct reality, promote an expansive processing style that broadens conceptual attention and facilitates performance on creative generation tasks, whereas subtractive counterfactual thinking mind-sets, activated by removing antecedent elements to reconstruct reality, promote a relational processing style that enhances tendencies to consider relationships and associations and facilitates performance on analytical problem-solving tasks. A reanalysis of a published data set suggested that (...) the counterfactual mind-set primes previously used in the literature tend to evoke subtractive counterfactuals. Studies 1 and 2 then demonstrated that subtractive counterfactual mind-sets enhanced performance on analytical problem-solving tasks relative to additive counterfactual mind-sets, whereas Studies 3 and 4 found that additive counterfactual mind-sets enhanced performance on creative generation tasks relative to subtractive counterfactual mind-sets. (shrink)

In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” (...) thereby replicating a cultural bias that links an artist to particular mental processes that are unnecessarily exclusive. An experiential account of creativity like the one recently advanced by Bence Nanay not only disadvantages those artists whose lived experiences reflect fewer social opportunities than their counterparts, but also invokes a concept of luck that undermines the role of originality within an artwork's overall aesthetic value. (shrink)

This introductory chapter presents the reader with various ways of approaching the topic ‘Wittgenstein and the creativity of language’. It is argued that any serious account of the questions arising from this joint consideration of, on the one hand, this great genius of philosophy and, on the other, the varieties of speech, text, action and beauty which go under the heading ‘the creativity of language’ will have to appreciate the potential of both, in terms of breadth as well as depth. (...) First, the chapter points out a way of understanding Wittgenstein’s discussion of rules and rule-following in relation to meaning and normativity which, in virtue of respecting Wittgenstein’s own creativity as a writer, does not fall prey to a widespread source of misunderstanding. Next, Wittgenstein’s uses of language receive some additional attention (i.e. his use of analogies, metaphors, punctuation and other literary and rhetorical devices), before a glimpse is offered of an unravelling of the knot that is Wittgenstein and the creativity of language. The multiple interrelated threads here lead into areas of human concern ranging from the philosophy of language and logic through to ethics, aesthetics and politics. Finally, the chapter offers an overview of the contents of the book from the perspective of its editors. (shrink)

Philosophy has long either dismissed or paid only minimal attention to creativity, and even with the rise of research on imagination, the creative imagination has largely been ignored as well. The aim of this volume is to correct this neglect. By bringing together existing research in various sub-disciplines, we also aim to open up new avenues of research. The chapters in Part I provide some framing and history on the philosophical study of imagination and creativity, along with an (...) overview of the empirical literature. Part II explores imagination and creativity as they manifest in, and in turn shape, the individual. Part III surveys the role of imagination and creativity across a wide variety of artistic domains, and the chapters of Part IV turn to societal domains. Part V focuses on the interplay of imagination and creativity with regard to particular features of creative subjects and different kinds of creative subjects. *** -/- Part I: Theories and Approaches 1. Theories of Imagination (Peter Kung) 2. Theories of Creativity (Julia Langkau) 3. Historical Treatments of Imagination in the Western Tradition (Lucia Oliveri) 4. Historical Treatments of Creativity in the Western Tradition (Elliot Paul) 5. Non-Western Treatments of Imagination (Reza Hadisi and Jing Iris Hu) 6. Non-Western Treatments of Creativity (Nicolas B. Verger and Vlad Glăveanu) 7. Empirical Treatments of Imagination and Creativity (Dustin Stokes) 8. Experimental Philosophy of Imagination and Creativity (Michael T. Stuart) 9. The Relationship between Imagination and Creativity (Margherita Arcangeli) -/- Part II: Imagination and Creativity in Mind and Action 10. Imagination, Creativity, and Skill (Amy Kind) 11. Imagination, Creativity, and Attention (Bence Nanay) 12. Imagination, Creativity, and Agency (Caterina Moruzzi) 13. Imagination, Creativity, and Emotion (Julien Deonna and Fabrice Teroni) 14. Imagination, Creativity, and Embodiment (Adriana Clavel-Vázquez and María Jimena Clavel Vázquez) 15. Imagination, Creativity, and Gender (Luke Roelofs) 16. Imagination, Creativity, and Race (Nicholas Whittaker) 17. Imagination, Creativity, and Child Development (Thalia Goldstein, Anna Sofia Caruso, Darian Stapleton, and Lamin Fatty) -/- Part III: Imagination and Creativity in the Arts 18. Imagination, Creativity, and the Visual Arts (Claire Anscomb) 19. Imagination, Creativity, and Music (Matteo Ravasio) 20. Imagination, Creativity, and Fiction (Hannah H. Kim) 21. Imagination, Creativity, and Dance (David Davies and Anna Pakes) 22. Imagination, Creativity, and the Culinary Arts (Patrik Engisch) 23. Imagination, Creativity, and Film (Murray Smith) 24. Imagination, Creativity, and Acting (Tzachi Zamir) 25. Imagination, creativity, and fashion (Laura T. Di Summa) -/- Part IV: Imagination and Creativity in Society 26. Imagination and Creativity in the Scientific Realm (Alice Murphy) 27. Imagination and Creativity in the Moral Realm (Tim Mulgan) 28. Imagination and Creativity in the Political Realm (Avshalom Schwartz) 29. Imagination and Creativity in the Law (Maksymilian Del Mar) 30. Imagination and Creativity in the Religious Realm (Neil Van Leeuwen) 31. Imagination and Creativity in Business (Eric Peterson) 32. Imagination and Creativity in Times of Crisis (Jennifer Fraser and Noah Stemeroff) Part V: Emerging Issues in Imagination and Creativity Research 33. Imagination, Creativity, and Aphantasia (Andrea Blomkvist) 34. Imagination, Creativity, and Neurodivergence (Sofia Ortiz-Hinojosa) 35. Imagination, Creativity, and Non-Human Animals (Henry Shevlin) 36. Imagination, Creativity, and Artificial Intelligence (Peter Langland-Hassan) 37. Collective Imagination and Collective Creativity (Nick Wiltsher) . (shrink)

Abstract Both the subject of science and the notion of creativity in Nietzsche have not been studied with the attention they deserve. The subject of science, however, can be considered a thread of research that is attracting the attention of a large number of philosophers. The notion of creativity, for its part, occupies, among other notions, a little known place within the interests that revolve around the figure of the thinker of Röcken. Therefore, we intend to develop a (...) study of the concept of science in Nietzsche focusing on an analysis of his criticism, to pose the gaze on the subject of Darwinism. Creativity will be studied in light of Nietzsche works and later in nexus with science. The relationship between these themes allows a novel approach to the study of science in Nietzsche and, therefore, to perceive its possible consequences. (shrink)

During the idea generation phase of the design process, designers often search for inspirations in external sources of information, such as photographs, written descriptions and physical examples. These sources have potential to enhance creative performance. However, they sometimes become too attached to particular ideas of external precedents or various examples. It refers to fixation which is identified as inadequate adoption of features from existing examples. Influence of the existing examples on creativity and fixation, specifically textual examples, have been discussed (...) in this research. -/- For the nature of design, researchers highlighted the restructuring process of design problem by new sources because the capabilities and boundaries of design problems are not defined very well. Further, the design problem is not knowable at any specific point. Design knowledge identifies itself by its ambiguity. Many models have been developed for design process. The various numbers of divided phases of the models can be seen as having two main areas: (1) idea generation phase (or “ideation”); (2) later phase for details. Idea generation plays an important role in the design process. It is the area of new and creative configurations on design. -/- Creativity is an integral part of the design process. Designers purpose to achieve original ideas to demonstrate their ability and unique designs. External stimuli or inspirational inputs play important roles to increase creativity. They can support moments of stimulation. Associations between information from memory and external stimuli can contribute to the creation of new meanings. Designers are widely influenced by their surroundings in daily lives. However, each stimulus may not be the part of a more creative result Even if designers want to utilize stimulus as an inspirational source, somehow it may fixate their mind to its surface features and they may lose potential creative contributions of the source. It is called fixation. There is much research that shows significant evidence of conformity effects across the design problems. -/- The given examples to designers may cause higher-level fixation and lower-level creativity or vice versa. Fixation may occur when example solutions are introduced, on the other hand, the designers may create more original ideas as well. There is a need for research to find ways to avoid fixation traps or reduce their adverse impact. Thus, this research focuses on variables of the given example. -/- The following claims show some research areas remained unclear: (1) Some researchers investigated textual examples as - one of the modalities of representation - but did not focus on forms of textual examples. (2) Much research has been conducted with examples which are selected by the researcher. Nevertheless, designers can also choose or produce their own stimuli. There is not much research on this possibility. In this context, my research focuses on the following two variables through two studies (Study 1 and 2): (1) forms of textual examples; (2) self-construction of textual examples. First, most of the studies in the literature have focused on visual presentation and there is not enough research on the content and form of the text. The study of textual examples has still not been awarded enough attention especially as various forms of text. Some forms of text are as follows: keyword, paragraph, sentence, poem. These observations lead me to the following research question: Which forms of textual example increase creativity and reduce fixation more? (Study 1). -/- Second, most of the studies regarding textual examples have used prose or keywords. The poems have been ignored. However, poems imply more meaning with fewer words. The structure of the poems enables more creative narratives than structure of prose. Because unusual organization of words stimulates the readers and draws their attention. This activates the creative performance of the reader. The surrealist poem is the extreme form of this activation. It is random assemblies with headlines and sentences which is cut from newspapers. Thus, novel meaning networks are formed. The method of creating a surrealist poem offers a new way of getting inspiration. It is termed as self-construction practice by this research. Through this method, designers create their own example from the given one. Reconstruction of the text may increase the creative process and prevent fixations from the given text. This suggestion led me to the following research question: If the designers write their own poem instead of a given poem (as a self-construction practice), can they internalize the textual example? In addition, does it produce more creative and less fixated designs? (Study 2). Two experimental studies were planned to partially answer the research questions, in which novice students of architecture were asked to solve two different design problems, under different conditions. All of the experimental sessions were conducted in a design education studio. The participants produced sketches and added a written explanation relating to their designs. Fluency, flexibility and repetition of key attributes were calculated by the researcher. -/- Originality, practicality, understanding of the task and quality were ranked by judges. Study 1 shows us tendencies of using various textual forms. Distinctions of keywords and of poems have appeared among them. This emphasizes the role of keyword and poem in the design process as inspirational sources and provides many tips for their potential use. The keyword also leads to a high degree of fixation. However, a low degree of fixation is observed when poems are presented as inspirational examples. -/- In Study 2, the self-constructed poem seems to support develop more successful design ideas from many perspectives. In the context of the surrealist poem, writing and reading the surrealist poem trigger the designers’ imagination. At first, the words and lines of poems seem unrelated to each other and designers try to relate them and solve the puzzle of meaning. Hence, novel meaning networks are formed. It indicates that surrealist poems are able to activate the creative performance of the designers. Writing their own surrealist poems ,as a self-construction practice, motivated designers to begin to produce by having fun. Motivated designers have stimulated themselves to produce creative ideas. In other words, the self-construction process may be added to the design process models in the earlier part of the idea generation phase which is called as pre-design and warm-up phase. This earlier phase makes designers highly motivated and they internalized the given examples. -/- Following the conclusions, several implications and recommendations for the design process and education are discussed. (shrink)

In this book, well-known scholars describe new and exciting approaches to aesthetics, creativity, and psychology of the arts, approaching these topics from a point of view that is biological or related to biology and answering new questions with new methods and theories. All known societies produce and enjoy arts such as literature, music, and visual decoration or depiction. Judging from prehistoric archaeological evidence, this arose very early in human development. Furthermore, Darwin was explicit in attributing aesthetic sensitivity to lower animals. (...) These considerations lead us to wonder whether the arts might not be evolutionarily based. Although such an evolutionary basis is not obvious on the face of it, the idea has recently elicited considerable attention. The book begins with a consideration of ten theories on the evolutionary function of the arts, and this is followed by several chapters that consider the possible evolutionary function of specific arts such as music and literature. The theory of evolution was first drawn up in biology, but evolution is not confined to biology: genuinely evolutionary theories of sociocultural change can be formulated. That they need to be formulated is shown in several chapters that discuss regular trends in literature and scientific writings. Psychologists have recently rediscovered the obvious fact that thought and perception occur in the brain, so cognitive science moves ever closer to neuroscience. Several chapters give overviews of neurocognitive and neural network approaches to creativity and aesthetic appreciation. The book concludes with two exciting chapters describing brain-scan research on what happens in the brain during creativity and presenting a close examination of the relationship between genetically transmitted mental disorder and creativity. (shrink)

The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and (...) interplay in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on (...) an analogy between art and creation, we propose that aesthetic appreciation of nature may provide theists with a unique phenomenological insight into God's creative intentions, which are embodied in the physical beauty of creation. We suggest two directions in which this way of looking at the natural world can be fleshed out: in a spontaneous way, that does not take into account background information, and with the help of science. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and wellbeing, (...) with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

Discoverability: the urgent need of an ecology of human creativity from the prolific Lorenzo Magnani is worthy of direct attention. The message may be of special interest to philosophers, ethicists and organizing scientists involved in the development of AI and related technologies which are increasingly directed at reinforcing conditions against which Magnani directly warns, namely the “overcomputationalization” of life marked by the gradual encroachment of technologically “locked strategies” into everyday decision-making until “freedom, responsibility, and ownership of our destinies” are (...) ceded and we, in parallel, build a future fit for artifacts over human beings. Professional educators - teachers and administrators serious about teaching - and policy-makers including the concerned public, parents and social activists concerned about the effects of technologies on development and well-being may benefit, as well. (shrink)

Using Peirce as a guide, this paper explores the way in which light mediates finitude through the relational process of semiosis. Embodying the triadic logic of identity, difference and return, light creates space, time and matter. Attention is on simple bodily forms and the meta-physics of their relationality. The first section introduces the mathematical and metaphysical contours of Peirce’s approach. The second section motivates Peirce’s three categories as interwoven process. In the third section, Peirce’s formalism of the sign is (...) presented and applied to simple physical and biological bodies. (shrink)

Tarot cards are a rich and fascinating art form. They are also an excellent tool for inquiry. I show why tarot has value, regardless of the user’s beliefs about magic. And I explain how novice or skeptical tarot users can appreciate (and create) that value by focusing on the card’s images, rather than consulting texts or expert guides. This is because, on a naturalistic conception, tarot’s zetetic value—that is, its value to inquiry—stems from its artistic properties.

Opracowanie przybliża wyzwania zwi¸a}zane ze starzeniem siȩ populacji ludzkich przyw uwzglȩdnieniu wyłaniania siȩ społeczeństw i gospodarek kreatywnych. Na pocz¸a}tku XXI wieku przemianom pracy i czasu wolnego towarzysz¸a} kwestie utrzymania solidarności pokoleń i przeciwdziałania wykluczeniu robotycznemu. W artykule zarysowane zostały najważniejsze cechy nowych instytucji kultury typu "medialab", laboratoriów mediów, które mog¸a zostać wykorzystane do realizacji działań na rzecz kształtowania pozytywnych odpowiedzi wobec tych wyzwań w ramach wspierania rozwoju "srebrnej gospodarki" i gerontechnologii. Zwraca siȩ również uwagȩ na potrzeby i możliwości umocowania ich (...) w politykach rozwoju miȩdzypokoleniowości. ** Essay approximates challenges of an ageing population and emergencing creative societies and economies. In the early XXI century transformations of work and leisure time is accompanied by issues of maintaining the solidarity of generations and preventing robotic exclusion. The article outlines the most vital features of the medialabs - new type of cultural institutions which can be used to implement actions towards the development of positive responses to these challenges by supporting development of the silver economy and gerontechnology. Work also draws attention to the needs and possibilities of attachment them into the development of intergenerational policies. (shrink)

According to some, humanity’s search to answer the question “What is the meaning of life?” fuels the creative fires that forge all of civilization’s great religious, spiritual, and philosophical texts. But how seriously should we take the question? In the following paper, I provide an implexic genealogical analysis of the cognitive structures that make the very articulation of the question possible. After outlining my procedure, my paper begins by explaining the main components of a genealogical inquiry. Next, I examine (...) Camus’s and Nagel’s respective analyses of philosophical absurdity, paying particular attention to their different evaluations of avatars of the absurd, such as the myth of Sisyphus. Finally, I demonstrate how we may complete Nagel’s solution to the absurd (which counsels that whenever the seeming meaninglessness of life is raised in consciousness, we address it with an ironic smile) by providing an evolutionary pathway of how the cognitive scaffolding required to ask the question about life’s meaning arose. I argue that by reframing philosophical absurdity, we see the phenomenon in a different light. In this very reframing, we may become free from the malaise often connected to avatars for the absurd. (shrink)

Nicolaus Cusanus, considered one of the most important German thinkers by many historians of philosophy, has yet to receive the recognition he deserves in the phil-osophical circles in Turkey. However, the philosophical writings of Cusanus contain the seeds of the thoughts of many modern philosophers such as Descartes, Berkeley, Leibniz, Kant, and Hegel. For this reason, studies on Cusanus are an essen-tial stopping point in the history of philosophy, especially for the Renaissance period and the transition to modern philosophy. Despite (...) this, texts examining Cusanus' thoughts are limited in foreign languages and Turkish. Towards the end of the 19th century, studies on Cusanus started and recently the worldwide interest in Cusanus has increased. Although there are different theses about the original as-pect of Cusanus’ thoughts in these sources, his theory of knowledge and the rela-tionship of this theory with the contemporary subject of philosophy of subjectivity attract attention. The reason for this is that Cusanus, unlike his contemporaries, as a result of his views on the human mind, makes the human center in the act of knowing and puts everything else into the mind's mediation. That is why people can know things not as they are in themselves, but only in so far, they are part of the conceptual world, that their own mind constructs that. This is a system of thought that on the one hand puts the human mind at the center through its act of knowing on the other hand, limits its knowledge. This centrality of the human mind led Cusanus to characterize man as the second god on earth. The main reason for characterizing man as the second god is the activity of knowing and the act of measuring that lies at the core of this activity. Despite its significance, there is no study focusing on man’s creativity in this world through the relationship between Cusanus’s conception of man as the second god and the human mind’s activity of measurement, which reveals the originality of Cusanus’ thought. This study aims to fill this gap in the literature. To achieve this aim, this study examines the act of measurement of man as the second god, which reveals the originality of Cusanus’ theory of knowledge associated with modern and contemporary philosophy. (shrink)

This is where one will find a Martian giving a speech on education. The creature’s words are wholly based on those of the Portuguese philosopher Leonardo Coimbra (1883-1936), so we named the Martian after him. The idea of turning Leonardo Coimbra into a Martian comes from the critical remarks of Homem Cristo (1860-1943), who predicted that the language of the first would be found by humans once on Mars, as we find out in Leonardo Coimbra’s Obras Completas, vol. VIII (Lisboa: (...) Imprensa Nacional-Casa da Moeda, 2014), pp. 200-1. Although it is the result of an inquiry into Leonardo Coimbra, this publication is pointedly a creative (or Creationist, in the philosophical sense) interpretation of the author’s approach to education. All the same, we have been faithful to Leonardo’s philosophy of education, so whoever pays attention to the Martian will be exposed to some aspects of the Leonardian ethos. (shrink)

Scholarly discussions of Merleau-Ponty’s aesthetics tend to focus on his philosophy of painting. By contrast, comparatively little attention has been paid to his philosophy of literature. However, he also draws significant conclusions from his work on literary expression. As I will argue, these reflections inform at least two important positions of his later thought. First, Merleau-Ponty’s account of “indirect” literary language led him to develop a hybrid view of phenomenological expression, on which expression is both creative and descriptive. (...) Second, a study of literature furnished him with the resources to develop a novel account of phenomenological “essences”, which holds that essences are revisable explanations of first-order experience. Both results have been overlooked by commentators. They demonstrate the systematic import of Merleau-Ponty’s philosophy of literature and language, and amount to a qualified extension of a basic Husserlian position. (shrink)

While examining the important role of imagination in making moral judgments, John Dewey and Moral Imagination focuses new attention on the relationship between American pragmatism and ethics. Steven Fesmire takes up threads of Dewey's thought that have been largely unexplored and elaborates pragmatism's distinctive contribution to understandings of moral experience, inquiry, and judgment. Building on two Deweyan notions—that moral character, belief, and reasoning are part of a social and historical context and that moral deliberation is an imaginative, dramatic rehearsal (...) of possibilities—Fesmire shows that moral imagination can be conceived as a process of aesthetic perception and artistic creativity. Fesmire's original readings of Dewey shed new light on the imaginative process, human emotional make-up and expression, and the nature of moral judgment. This original book presents a robust and distinctly pragmatic approach to ethics, politics, moral education, and moral conduct. [The downloadable sample is Chapter Seven, "The Moral Artist."]. (shrink)

According to the Nomological Argument, observed regularities in nature are best explained by an appeal to a supernatural being. A successful explanation must avoid two perils. Some explanations provide too little structure, predicting a universe without regularities. Others provide too much structure, thereby precluding an explanation of certain types of lawlike regularities featured in modern scientific theories. We argue that an explanation based in the creative, intentional action of a supernatural being avoids these two perils whereas leading competitors do (...) not. Although our argument falls short of a full defense, it does suggest that the Nomological Argument is worthy of philosophical attention. (shrink)

In recent years there has been growing interest in adapting virtue ethics to the ethics of technology. However, it has most typically been invoked to address some particular issue of moral importance, and there is only a limited range of works dealing with the methodological question of how virtue ethics may contribute to this field. My approach in this paper is threefold. I start with a brief discussion of Aristotelian virtue ethics, with a view to constructing a framework in which (...) to then address at least some of the aspects of the growing technicization of life that call for scrutiny. I subsequently proceed further by outlining three possible models of virtue-theoretical analysis within the ethics of technology, giving special attention to those changes in human agency where technicization can be seen to exert a significant influence. Finally, I focus on the third such possibility, the extended virtue model, as a basis for calling for a more inclusive account of moral agency. (shrink)

Otto Neurath’s empiricist methodology of economics and his contributions to politi- cal economy have gained increasing attention in recent years. We connect this research with contemporary debates regarding the epistemological status of thought experiments by reconstructing Neurath’s utopias as linchpins of thought experiments. In our three reconstructed examples of different uses of utopias/dystopias in thought experiments we employ a reformulation of Häggqvist’s model for thought experiments and we argue that: (1) Our reformulation of Häggqvist’s model more adequately complies with (...) many uses of thought experiments, especially with the open-ended discussions of utopias and dys- topias in thought experiments. (2) As a strict logical empiricist, Neurath is committed to a strictly empiricist account of thought experiments. John Norton’s empiricist argument view can indeed account for the justifications of empirical beliefs and genuine discoveries targeted by scientific utopianism in three distinct (yet connected) ways, all of which Neur- ath already contemplated: (2.I) Dealing with utopias and thought experiments on a regular basis increases creativity and inventiveness. (2.II) Particular ways of presenting knowl- edge facilitate scientific discovery and social progress. (2.III) The use of utopias in thought experiments can prompt conceptual change and allow access to new phenomena. We con- clude by highlighting that, even though thought experiments support a positive attitude for exploring new social possibilities, Neurath points out that active decisions are unavoidable. The exploration of alternatives and the awareness of a need for decisions in policy discus- sion avert a technocratic outlook in social science. (shrink)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin 2014). (...) But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

In this theoretical article, I propose free will to be compatible, not with determinism, but with chance. This paper provides a neurological model of how free will emerges from oscillating neuronal activity, in modules. These, representing ideas, oscillate subconsciously, competing for conscious attention; choice between them is partly random. The modules seek to maintain, homeostatically, a sense of context and consistency; and a conscious desire for a sense of character and personality. I propose that they learn from experience, using (...) feedback to rebalance, so that decisions conform to our desired will. This applies to "snap" decisions, but also to our moral core. Particular experiences influence our future moral judgments such that we accept responsibility for our generally but not entirely predictable decisions. The model explains will power, pathologies (i.e., addiction, “ego-depletion”) and links free will to creativity and humor. The Modular with Feedback theory of free will grants us freedom through a plastic control the uncertainty of which isn’t understood, but which is sufficient to preclude determinism. Key Words: free will, modular, feedback, inverse compatibilism, plastic control -/- . (shrink)

The article is devoted to the review of history of homiletics as a science in the Kyiv theological tradition. On the basis of the analysis of the first domestic work on the theory of the sermon, made by Yoanykyi Haliatovskyi, process of influence of the Catholic baroque sermon on original homiletics in Kyiv in 17th century is shown. The article also analyzes homiletic views of an archbishop Theofan Prokopovych, who sought to reform the domestic church sermon, depriving it of the (...) extremes of Baroque literature. The author discusses contribution of professors Yakiv Amfiteatrov and archpriest Nazariі Favorov to homiletics as a science in Kyiv Theological Academy in 19th century. Special attention is paid to the analysis of the Professor Vasyl Pevnytskyi’s views who criticized the traditional approaches in Orthodox homiletics. In particular, Professor Pevnytskyi rejected the view on homiletics as a purely practical discipline, designed to provide students with knowledge about the preparation and delivery of the sermon. He believed that homiletics should not teach the method of preparing a sermon, but morally educate preachers. Pevnytskyi offered to rename homiletics to “spiritual literature” and introduced a historical method in its teaching. The course of “spiritual literature” had to show students how the living word influenced people and changed the world. Consequently, homiletics should turn into an analytical history of spiritual literature. The poetics shares the opinion of a number of Protestant theologists that success of the sermon does not depend on the perfection of its external form, but on how deeply a preacher captures the truth. He attributed the decisive feature of the preaching word not to abstract rules of drafting and preaching, but to a special inner inspiration of the preacher. Similar opinions were observed, in particular, in Protestant thinkers such as Philip Jacob Schpener, Franz Theremin, and Friedrich Schleiermacher. Prof. Pevnytskyi tried to creatively rethink their ideas. An alternative to scholasticism he saw in the holy tradition. It was on the foundation of patrician homiletic heritage that Pevnytskyi aimed to build a new course in homiletics. (shrink)

Analytic philosophy is sometimes said to have particularly close connections to logic and to science, and no particularly interesting or close relation to its own history. It is argued here that although the connections to logic and science have been important in the development of analytic philosophy, these connections do not come close to characterizing the nature of analytic philosophy, either as a body of doctrines or as a philosophical method. We will do better to understand analytic philosophy—and its relationship (...) to continental philosophy—if we see it as a historically constructed collection of texts, which define its key problems and concerns. It is true, however, that analytic philosophy has paid little attention to the history of the subject. This is both its strength—since it allows for a distinctive kind of creativity—and its weakness—since ignoring history can encourage a philosophical variety of “normal science.”. (shrink)

In this essay, I argue that there are two more or less distinct theories of the State in Hegel. The first, and better known, is developed in the Philosophy of Right, wherein Hegel endorses the notion of a coercive, centralised, and hierarchical 'Ideal State'. This is precisely the theory which certain radical Hegelians of the nineteenth century (e.g., Marx and Bakunin) viewed with such deep suspicion. The second, which has not received as much attention by commentators, appears in the (...) Phenomenology and other early writings. Although this theory introduces many of the key components of Hegel's later political philosophy, it is nonetheless far more radical in its political implications--most important, in its gesturing toward a society which makes room for the realisation of the stateless, classless vision of anarchist communism. The point is not to demonstrate that Hegel is inconsistent or self-contradictory, but show that there are elements of creative tension within his political theory which are not only sufficient to vindicate him from the criticisms of Marx and Bakunin, but also to re-contextualise him as a radical precursor. As I shall argue, the kind of society that emerges in the final chapters of the Phenomenology need not contain the elements of coercion and class struggle which appear in the Philosophy of Right and repulse Marx and Bakunin. On the contrary, such a society may be understood as prefiguring the classless, stateless society which both Marx and Bakunin ultimately endorse. (shrink)

Myths—symbolically dense narratives in wide cultural circulation that resist critical scrutiny—are often thought to be counterproductive to political discourse, but they are also ubiquitous in contemporary culture and society. Just two years apart, Jürgen Habermas and Hans Blumenberg developed contrasting visions of how we ought to respond to the myths in our society. By reconstructing their disagreement, this paper uncovers the distinctive challenge of balancing a commitment to political emancipation with the opacity of myths to critical reason. I argue for (...) an alternative approach to myths than those in the theoretical mainstream, taking Blumenberg’s relatively neglected position as a starting point. Blumenberg invites us to pay closer attention to the cognitive needs that necessitate the generation of myths while simultaneously reminding us of our own creative agency to reinvent them. (shrink)

Analogical cognition refers to the ability to detect, process, and learn from relational similarities. The study of analogical and similarity cognition is widely considered one of the ‘success stories’ of cognitive science, exhibiting convergence across many disciplines on foundational questions. Given the centrality of analogy to mind and knowledge, it would benefit philosophers investigating topics in epistemology and the philosophies of mind and language to become familiar with empirical models of analogical cognition. The goal of this essay is to describe (...) recent empirical work on analogical cognition as well as model applications to philosophical topics. Topics to be discussed include the epistemological distinction between implicit knowledge and explicit knowledge, the debate between empiricists and nativists, the frame problem, expertise, creativity and autism, cognitive architecture, and relational knowledge. Particular attention is given to Dedre Gentner and colleague’s structure-mapping theory – the most developed and widely accepted model of analogical cognition. (shrink)

The fields of Responsible Research and Innovation (RRI) and participatory foresight seek to establish, and to include publics within, anticipatory governance mechanisms. While scenario-based methods can bring to the publics’ attention the ethical challenges associated to existing technologies, there has been little empirical research examining how, in practice, prospective public deliberative processes should be organized to inform anticipatory governance. The goal of this article is to generate methodological insights into the way such methods can stimulate the public's moral imagination (...) regarding what may (or may not) happen in the future and what should (or should not) happen in the future. Our qualitative analyses draw on a public deliberation study that included videos and online scenarios to support participants’ (n = 57) deliberations about fictional interventions for genetically at-risk individuals. Our findings clarify how participants: (1) challenged key elements of our scenarios; (2) extended several of their technical and moral prospects; (3) engaged personally with others, including our scenarios’ characters; and (4) mobilized the past creatively to reason about the future. Our methodology enabled participants to creatively and empathetically envision complex sociotechnical futures. Yet, important methodological limits should be acknowledged by those who design, implement and use public engagement methods to inform anticipatory governance. (shrink)

Friedrich Wilhelm Joseph von Schelling (1775-1854) is often thought of as a “philosopher’s philosopher,” with a specialist rather than generalist appeal. One reason for Schelling’s lack of popularity is that he is something of a problem case for traditional narratives about the history of philosophy. Although he is often slotted in as a stepping stone on the intellectual journey from Kant to Hegel, any attention to his ideas will show that he does not fit this role very well. His (...) later philosophy suggests a materialism and empiricism that puts him outside of idealism proper; his connection with the romantic movement suggests an aestheticism that challenges traditional philosophy as such; and his mysticism allies him with medieval, pre-critical philosophies considered antiquated by the 19th century. And if Schelling was not entirely at home with his contemporaries, he seems, on the face of it, to have fared little better with his future: there has been no Schelling school, he has had no followers. No historical trajectory announces Schelling as its point of departure. -/- And yet Schelling’s influence has been an extraordinary one. He has inspired physicists, physicians, theologians, historians and poets. A wildly diverse set of philosophers have claimed that their ideas have resonance with his. Perhaps the question of Schelling’s influence can be approached by looking at what Kant says about works of genius -- that they should give rise to inspiration, not imitation. Paradoxically, to imitate genius is not to produce an imitation but a new creative work. Whether or not Schelling should be strictly viewed as a genius, Kant’s notion suggests a sense in which Schelling should be understood as a “philosopher’s philosopher”; he inspired creativity, not repetition. In this perspective, the lack of a “Schelling school” is a sign of strength; Schelling is continually being rediscovered, and his works have retained a fresh and untimely character. If Schelling does not have any obvious historical successors, it is because his influence cannot be charted by the usual methods. New philosophical tools are needed in order to understand his philosophical significance, his impact on contemporary thought and relevance for contemporary concerns. (shrink)

Is there a right or wrong way to play a game? Many think not. Some have argued that, when we insist that players obey the rules of a game, we give too much weight to the author’s intent. Others have argued that such obedience to the rules violates the true purpose of games, which is fostering free and creative play. Both of these responses, I argue, misunderstand the nature of games and their rules. The rules do not tell us (...) how to interpret a game; they merely tell us what the game is. And the point of the rules is not always to foster free and creative play. The point can be, instead, to communicate a sculpted form of activity. And in games, as with any form of communication, we need some shared norms to ground communicative stability. Games have what has been called a “prescriptive ontology.” A game is something more than simply a piece of material. It is some material as approached in a certain specified way. These prescriptions help to fix a common object of attention. Games share this prescriptive ontology with more traditional kinds of works. Novels are more than just a set of words on a page; they are those words read in a certain order. Games are more than just some software or cardboard bits; they are those bits interacted with according to certain rules. Part of a game’s essential nature is the prescriptions for how we are to play it. What’s more, we investigate the prescriptive ontology of games, we will uncover at least distinct prescriptive categories of games. Party games prescribe that we encounter the game once; heavy strategy games prescribe we encounter the game many times; and community evolution games prescribe that we encounter the game while embedded in an ongoing community of play. (shrink)

This book researches the thought of Jin Yuelin’s epistemology with some notions and methods of contemporary epistemology as the frame of reference. There are two kinds of academical significance in this book, one is that author has accurately comprehended the specific content, inadequacies and contradictions in Jin’ s epistemology, recognized the methods by which Jin Yuelin built his theory of knowledge. The other is that author has known about the differences in research objects and methods between Jin’s theory and contemporary (...) epistemology, and showed the position of Jin’s epistemology in the whole theory of knowledge through the comparative study. On the one hand, the book focuses on the core problem of Jin Yuelin’ epistemology that is how objective knowledge is produced. On the other hand, it is made up of seven chapters in accordance with the structure of Jin’s Theory of Knowledge. The first chapter introduces and comparatively analyzes the comprehensions about the concepts of “knowledge” and “epistemology” between Jin Yuelin and contemporary epistemologists. This chapter supplies the means and methods for following chapters. The second chapter describes Jin’s standpoint and criticism to idealism starting mode, analyzes the objective starting mode that belongs to Jin’s theory and reveals his negative attitude to skepticism. This chapter shows the essential characteristics of the Jin Yuelin’s epistemology. The given is the content of sensation, which is the most basic part of cognitive activity. Moreover Jin Yuelin regards sensation as foundation of knowledge, so the research on theory of the given is separated from the whole study of cognitive activity and treated as the third chapter, which presents Jin’s theory of the given and analyzes the problems of Jin’s theory, then introduces some kinds of theory of the given and theory of perception in the contemporary epistemology, finally comparatively investigates theories of the given between Jin Yuelin and contemporary epistemologists. From the perspective of cognitive activity, the fourth chapter describes the perceptual activity, the activity of knowing, the activity of thinking, means and outlines of reception in Jin’s epistemology, then exposes its contradictions and inadequacies; Induction is the important research object of the Western epistemologists, similarly Jin Yuelin paid more attention to induction and regards the principle of induction as outline of reception. In fact, his standpoint about the principle of induction is vital and creative, so the study of induction separately belongs to the fifth chapter. This chapter presents the Jin’s comprehension about the principle of induction and some answers to the problem of induction in contemporary epistemology, then comparatively analyzes two kinds of the thought about induction. The sixth chapter successively introduces being, nature and fact which all are objects of cognitive activity, then analyzes the problems within them. From the perspective of cognitive results, the last chapter presents the Jin’s standpoint about verification and demonstration of proposition, definition and criteria of truth, then simply describes the point views of contemporary epistemologists about verification and truth of proposition, finally comparatively investigates two kinds of thought. From the vertical, the thesis analyzes the fundamental sections of objective knowledge one by one, such as the given, experience, idea, proposition and truth. From the horizontal, the book focuses on the three main parts of knowledge event, for example, cognitive activity, objects of knowledge and the true proposition treated as knowledge. In a word, the whole book is coherent and organic unity. Through the comparative study, it can be concluded that it is reasonable for Jin Yuelin to enjoy a high academic status, because he is the first philosopher who specializes in the study of epistemology. At the same times, he improves transmission of logic, metaphysics and epistemology from the Western to China. So, his hard work enriches and expands the realm of Chinese philosophy. With the development of the study of epistemology, descriptive content of it, such as, perceptual activity and rational activity, will be regarded as the objects of psychology and cognitive science. Meanwhile, normative content will be retained. For example, analysis of conditions of knowledge, justification for belief claims, comprehension about the proofs of justification, as well as reactions to challenges of skepticism. The latter will continue to be objects of epistemology, of course, they must establish close relationships with psychology and cognitive science. According to this prospect, we should split Jin Yuelin’s theory of knowledge, of which the descriptive content would be allocated to psychology and cognitive science. On the contrary, the normative content would be kept as important resource for deeply studying epistemology. -/- Key words: Knowledge; Contemporary epistemology; Compare; The given; Idea; The principle of induction; Fact. (shrink)

The evolution of arm-leg relationships presents something of a problem for embodied cognitive science. The affordances of habitual bipedalism and upright posture make our two sets of appendages and their interrelationships distinctively human, but these relations are largely neglected in evolutionary accounts of embodied cognition. Using a mixture of methods from historical linguistics, Cognitive Linguistics and linguistic anthropology to analyze data from languages around the world, this paper identifies a robust, dynamic set of part-whole relations that emerge across the human (...) waistline between upper and lower appendage sets cross-culturally. The general pattern—identified as “arm-leg syncretism”—provides a plausible primary source for the uniquely human penchant for creative analogy, or “double-scope conceptual blending”, said to underlie the human language faculty (Fauconnier and Turner 2002, 2008; Deely 2002; Anttila 2003; Bybee 2010). This account not only addresses a conspicuous gap in the literature but also enables us to better understand what it means to be human—including how we came to be unique among other species and how we are still vitally interrelated with other species. Deely (2010) blends both sides of this tension into a single phrase: “the semiotic animal”. The paper further develops this distinction by drawing attention to one of the roles upright posture played in the emergence of semiotic consciousness. (shrink)

While the notion of chance has been central in discussions over the probabilistic nature of natural selection and genetic drift, its role in the production of variants on which populational sampling takes place has received much less philosophical attention. This article discusses the concept of chance in evolution in the light of contemporary work in evo-devo. We distinguish different levels at which randomness and chance can be defined in this context, and argue that recent research on variability and evolvability (...) demands a causal understanding of variational probabilities under which development acquires a creative, rather than a constraining role in evolution. We then provide a propensity interpretation of variational probabilities that solves a conceptual confusion between causal properties, variational probabilities and extant variation present in the literature, and explore some metaphysical consequences that follow from our interpretation, specifically with regards to the nature of developmental types. (shrink)

’ During the late Middle Ages a growth of scientific and philosophical knowledge began to occur. There was an increase in attention to art and architecture. Europe started to move forward in terms of intellect and culture. The ‘Golden Age of Europe’ is well exemplified in documents 6, 7, and 10. “… we learn that an age once traditionally described as ‘dark’ had remarkable vitality and exuberance. … But even more it was creative and inventive, and transmitted to (...) later ages great rich. -/- . (shrink)

Purpose of this article is to introduce the concept of a new cultural institution, "medialab". Media laboratory is an interdisciplinary institution that combines the tasks of scientific, educational, cultural and artistic institutions. They are spaces in which technology and digital media are designed. Article introduces the main features of medialabs and possible public tasks in the field of regional cultural policy and innovation policy. It also draws attention to the challenges and barriers in the organization and management of these (...) centers. (shrink)

The current paper investigates two productive morphological processes, namely compounds and portmanteau words (or blends). While compounds, a productive, regular and predicable morphological process, have received much attention in the literature, little attention was paid to portmanteau words, a creative, irregular and unpredictable word formation process. The present paper aims to find the commonalities and differences between these morphological devices, using Rosch et al.’s (1975; 1976) theory of prototypes and basic-level categories to achieve this goal. This theory (...) will also be employed to discuss the literature on the word formation mechanisms under investigation and propose a new categorization approach to these neologisms. The analysis suggests that compounds and blends compare and contrast and that the distinctions between them are blurry. The analysis confirms that a prototypical approach is well suited to compounds and blends in English. This has implications for future research into English word-formation processes in general and compounds and blends precisely. (shrink)

Making sense of MacKinnon’s claim that pornography silences women requires attention to the discursive and interpretive frameworks that pornography establishes and promotes. Treating pornography as a form of hate speech is promising, but also limited. A close examination of a legal case, in which pornographic images were used to sexually harass, focuses on the hate speech analogy while illustrating the broad and lasting impact of such depictions when targeted at an individual. Applying the distinction between Absolutist and Reclaimer approaches (...) to hate speech and derogatory terms, the article concludes with a discussion of the possibility of creative development of discursive practices within a context that undermines the semantic authority of members of certain groups. (shrink)

This chapter demonstrates that G.W. Leibniz and Michal Polanyi’s creative work in multiple fields of attention may serve a twenty first century in need of scholars willing to put daring and speculative imaginative inter–disciplinary risks in play. Such a cultural development would activate a general and cross–cultural sensibility that may salvage knowledge work, which is often predicated on property and power, for instead intellectual work that would serve the production of multiple truths that may enliven the world and (...) inspire it. (shrink)

An essay on the philosophy of human nature in Islam, this article examines the views of contemporary Western thinkers to creatively rethink the concept of fiṭra, not only from a theological perspective but also a scientific perspective. Drawing upon Islamic scholarship and previous research on the subject that explore the wide spectrum of connotations couched in the Arabic term fiṭra in comparison with Western perspectives, this study offers a fresh look at, and approach to, the concept of human disposition or (...) primordial nature, giving special attention to the biological, epistemological, and ethical dimensions, while most studies of fiṭra focus mainly on the theological and spiritual sides. It is hoped that this conceptual analysis will serve as a stepping stone towards a more nuanced understanding of fiṭra not only as (i) a natural tendency to act or think in a particular way, but also as (ii) the religious instinct, (iii) the power of the mind to think and understand in a logical way, and (iv) the inner voice or conscience of what is right and wrong in one’s conduct or motives that drives the individual towards right action. (shrink)

In this paper I describe a novel application of contemplative techniques to software engineering with the goal of augmenting the intellectual capabilities of knowledge workers within the field in four areas: flexibility, attention, creativity, and trust. The augmentation of software engineers’ intellectual capabilities is proposed as a third complement to the traditional focus of methodologies on the process and environmental factors of the software development endeavor. I argue that these capabilities have been shown to be open to improvement through (...) the practices traditionally used in spiritual traditions, but now used increasingly in other fields of knowledge work, such as in the medical profession and the education field. Historically, the intellectual capabilities of software engineers have been treated as a given within any particular software development effort. This is argued to be an aspect ripe for inclusion within software development methodologies. (shrink)

During the two last decades, speeded up by the development of the Internet, several types of commons have been opened up for intellectual resources. In this article their variety is being explored as to the kind of resources and the type of regulation involved. The open source software movement initiated the phenomenon, by creating a copyright-based commons of source code that can be labelled `dynamic': allowing both use and modification of resources. Additionally, such a commons may be either protected from (...) appropriation (by `copyleft' licensing), or unprotected. Around the year 2000, this approach was generalized by the Creative Commons initiative. In the process they added a `static' commons, in which only use of resources is allowed. This mould was applied to the sciences and the humanities in particular, and various Open Access initiatives unfolded. A final aspect of copyright-based commons is the distinction between active and passive commons: while the latter is only a site for obtaining resources, the former is also a site for production of new resources by communities of volunteers (`peer production'). Finally, several patent commons are discussed, which mainly aim at preventing patents blocking the further development of science. Throughout, attention is drawn to interrelationships between the various commons. (shrink)

The paper begins with the assumption that in order to explain the efficacy of harmony as an organizing force in human and natural affairs we must pay attention to the dynamic features characteristic of the growth and maintenance of harmonious forms. Two dynamic features are highlighted for their especial significance: revitalization, and self-surpassing. It is then argued that the two are substantively connected through the agency of creativity which, when given free reign, tends to preserve and fortify harmony by (...) surpassing existing harmonious configurations. It follows that the impetus towards self-transcendence is a vital aspect of the growth, the sustenance, and the flourishing of harmony. I then argue that this urge towards self-transcendence can be broadly identified with Plato's notion of Eros. Nevertheless, I also argue that this affinity does not commit us to a rigid Platonic scheme of the sort criticized by Chenyang Li (2014) as harmony by conformity. (shrink)

In a world of ever growing specialization, the issue of complexity attracts a good amount of attention from cross-disciplinary points of view as this Congress provides evidence. Charles S. Peirce's thought may help us not only to shoulder once again philosophical responsibility which has been largely abdicated by much of 20th century philosophy, but also to tackle some of the most stubborn contemporary problems. The founder of pragmatism identified one century ago most of these problems, and he also mapped (...) out some paths that we could follow to overcome the poverty of contemporary scientistic reductionism. One of these paths is related with the issue of complexity, that lies at the heart of all his conception. -/- Along this line, the aim of my paper is to describe what Peirce can teach about complexity to semioticians coming from very different scientific backgrounds. The lecture will be divided in three sections: 1) a presentation of Peirce, stressing his personal authority as a scientist philosopher, providing also some biographical details; 2) the theory of categories as the heart of complexity according to Peirce and, finally, 3) some consequences of Peirce's notion of complexity in relation with abduction and creativity, semiosis, cross-disciplinarity and communication. -/- . (shrink)

The article deals with the anthropological views of M. Olesnytskyі, a professor at the Kyiv Theological Academy, whose creative work has not yet been properly studied. It reveals the connection of his anthropological ideas with moral theology and ethical doctrine, which he had taught for a long time in the KTA. Anthropological implications of the moral formation of a human person are also paid attention to, in particular, the dependence of the moral character on anthropological factors. In this (...) context, the writing considers Olesnytskyі’s views on the peculiarities of a person’s body-build. The Kyiv scholar focused on the principles of human corporeality based on natural conditions. In particular, Olesnytskyі stressed that it was the earth’s conditions that formed the bodily nature of man. The article also explores those religious ideas that influenced the anthropological views of the Kyiv scholar, which is quite understandable in view of his Christian outlook. Olenytskyі demonstrates the possibility of effective application of contemporary philosophical studies to the theological and anthropological analysis of man as an individual. In this sense, the conceptual connections of the anthropological views of the Kyiv scholar with the ones of the influential contemporary European philosophers and anthropologists, such as А. Schopenhauer, R. H. Lotze, F. Schleiermacher, E. von Hartmann, and others, become clearly evident. The article emphasizes the significance of the concept of the unconscious for the moral anthropological doctrine of Olesnytskyі; it also argues for the connection of this concept to the leading European doctrines of the unconscious, which were elaborated in philosophy and psychology in the second half of the 19 th century. (shrink)